By LARRY McCABE

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I- T A B 53 53 3 Additional Comments on Rhythm Patterns Harmonically speaking, all accompaniment patterns are primarily influenced by the tones of the prevailing chord this same principle is true for bass lines, solos, and vocal harmonies. Non-chord tones, known as passing tones, are sometimes used as "stepping stones" to move from one chord tone to another. Example 7 pattern 13 is played to the C7 chord symbol, but the chord fragment contains the ninth tone, D. This is an example of chord extension.

Andlor numbers 7, 9, etc. identify the chord type. For best results, transpose each of the four variations to the following keys: G, D, A, E, F, Bb, and Eb. Ex. 10 12-bar major key variation #1 17 17 17 17 1V7 1V7 17 17 V7 1V7 I- 17 V7 L Ex. 11 Variation #1 in the key of C F F CCGF C 1V7 1V7 17 17 Ex. 12 12-bar major-key variation #2 17 17 1V7 17 ¶ 17 V7 1V7 tH Th- 17 1 Ex. 13 Variation #2 in the key of C 7 FC CFFC CG F C 17 Ex. 14 12-bar major-key variation #3 17 1V7 17 +"F;- 17 1V7 1V7 17 V7 1V7 F F CCG +1 17 V7 LII Ex.

12 12-bar major-key variation #2 17 17 1V7 17 ¶ 17 V7 1V7 tH Th- 17 1 Ex. 13 Variation #2 in the key of C 7 FC CFFC CG F C 17 Ex. 14 12-bar major-key variation #3 17 1V7 17 +"F;- 17 1V7 1V7 17 V7 1V7 F F CCG +1 17 V7 LII Ex. 15 Variation #3 in the key of C CC +" Ex. ; F7 C7 C7 I I L I I 35 I li1 Appendix 3 12-Bar Blues Progressions in Minor Keys Another type of blues progression is the 12-bar minor-key progression. Example I shows the Roman Numeral arrangement of chords in the basic 12bar minor-key blues progression.

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101 Bad to the Bone by LARRY McCABE


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